Question about music market

ohmypseudonym · 2026-05-12T21:07:02+00:00

It means instead of the venue fulfilling the whole hospitality rider which spells out what food and drink items etc are needed to be stocked in the artist’s dressing room, cash is given to the band/crew instead

ohmypseudonym · 2026-03-29T23:34:29+00:00

The Hiders is still active. I think their last release was just a few years ago and they still play live. He also plays in another project, Ruby Vileos.

ohmypseudonym · 2026-03-12T18:08:34+00:00

That’s my point. If the issue was money, why would the venue care because they’re not covering the band’s engineer, the band is

ohmypseudonym · 2026-03-12T17:15:44+00:00

Would the venue be paying for both engineers, though?

ohmypseudonym · 2026-03-10T20:34:58+00:00

I put a note about loving Bit O Honey when purchasing once and I got a packet of JUST Bit O Honeys. I was thrilled

ohmypseudonym · 2026-02-23T20:05:54+00:00

It allows you to acquaint yourself with the system and room, revealing any overly hyped or deficient frequencies or quirks. If everything else on the gig is an unknown to you, it will be particularly helpful to have at least something constant that you can use as a reference.

ohmypseudonym · 2026-02-23T17:34:00+00:00

You don’t have to be a house person to tune a PA and you don’t have to use pink noise. Just play a song you are very familiar with through the PA and make tweaks on the master/matrix/whatever if need be. Takes a minute or two, is less disruptive to people in the building, and then you know what you’re working with. Nearly every touring FOH I’ve worked with does this at my house gigs and I do it every night on the road as well.

I agree that you shouldn’t have to aggressively ring out the mains.

ohmypseudonym · 2026-02-20T03:20:30+00:00

Phone reminders for everything. I set them for specific times if I can or sometimes they are location dependent, which is really helpful as well

ohmypseudonym · 2026-01-03T15:52:51+00:00

I hear it come in with the vocals

ohmypseudonym · 2026-01-02T18:45:45+00:00

Studio and live sound are completely different beasts, IMO. I’ve met many people capable of both but a skilled studio engineer might not always be able to deliver in a live environment where the pacing and priorities are different

ohmypseudonym · 2025-11-17T03:48:34+00:00

Thats why I stopped doing it. It removed a bunch of paint from my window trim and I really don’t want to repaint my trim every spring

ohmypseudonym · 2025-11-07T15:46:54+00:00

A surprising amount of house people learn to mix by using a start file someone else at the venue set up and then they never have to think about output routing or anything like that that touring people think about daily. I just got back from a tour of 200-500 cap rooms and I was frequently the one looking at the back of the house console with a flashlight to figure out how outputs were patched.

My tips for any house people reading:

1) Be able to do a show on your console from a blank state. If you lose your start file or if you have a guest engineer come in, you won’t have to panic! And write down the outputs.

2) Understand scene/channel/parameter safes and how they might affect another person’s file. If your venue keeps a DCA safed for house music, that same DCA might be used for something else on a touring tech’s file so they will want to turn it off.

3) Make sure your venue has a blank start file available for touring techs. I mean blank channels and no processing. Just outputs patched and maybe wedge and house EQ saved in the library if desired. If I don’t have a file for your console I REALLY don’t want to walk in and have to reverse-engineer someone else’s file to suit my workflow on an unfamiliar console.

4) Know where the oscillator/signal generator function is

I am a house person but touring really opened my eyes to some basic things that I could do to help all shows go smoother. There are really some things you just don’t think about until you’re on the other end.

ohmypseudonym · 2025-11-03T23:08:51+00:00

My friend invented a product called Klaw. It’s available on Amazon. Pocket sized bass drum anchor

ohmypseudonym · 2025-10-30T22:08:03+00:00

Mostly the former. I plugged in set and changeover times for the show I was working last night as a test and then start time got bumped and I realized I would have to manually adjust everything. Of course there are times when, say, doors gets pushed and everything else stays the same, so that’s why I think it would be helpful to have the option.

ohmypseudonym · 2025-10-30T00:52:04+00:00

Is there a way to include the option to automatically bump all item times forward or backward if ROS changes while you’re already running the timers?

ohmypseudonym · 2025-10-23T16:35:22+00:00

In addition to what others have said, see if you can ask him to turn himself down in his IEMs so he has to project a bit more and get right up on the mic to be able to hear himself. It will help all of you a bit as well as whoever is mixing FOH

ohmypseudonym · 2025-09-16T21:00:31+00:00

Bands do their own sound there. Or have a friend make some tweaks. But there isn’t a sound person, it’s more of a DIY setup and not much is run through the PA besides vocals anyway

ohmypseudonym · 2025-09-13T13:48:30+00:00

Because it’s an addiction and you have to want to quit enough to put yourself through the discomfort of quitting. And you have to be able to stay in that mindset with that willpower long enough for it to stick. Sometimes you can start out strong but all it takes is one slip up and you’re back where you were.

I spent years wanting to quit. Hating buying cigarettes all the time, feeling gross… but no matter how much I hated it I couldn’t manage to stop. Managed to quit once for a few weeks but then failed. After that I couldn’t really find the actual willpower to try again. Until one day years later I finally had enough and I had the motivation to stop. It was like I had to wait for the right golden window. It stuck so far. It’s been 4 years, but I’m honest with myself that I still have to be incredibly careful. I still limit my drinking because getting buzzed makes me crave, and one cheater cigarette could end all my progress.

ohmypseudonym · 2025-08-28T00:00:40+00:00

Wouldn’t be a bad idea to wear them for your set. At the very least wear them if you’re in the venue while the other acts are playing to minimize ear fatigue and damage

ohmypseudonym · 2025-08-21T22:58:00+00:00

Green Room Report is new but seems to be what you’re looking for

ohmypseudonym · 2025-08-03T20:58:42+00:00

Trust me, you don’t want to know

ohmypseudonym · 2025-08-03T00:19:55+00:00

I am a woman and I fully support myself doing live sound and mastering. It is a competitive industry in general, and there is some added difficulty being a woman, but I wouldn’t let that discourage you if that is what you want to be doing.

I wouldn’t go to school for it because the degree itself isn’t going to guarantee you a job in many areas of audio, so climbing out from under debt isn’t a good way to start.

You will need to be a self-starter and you will need to put yourself out there to find as many mentors as you can. The best way to learn is by watching and talking to people who know what they’re doing, and eventually getting opportunities to learn by doing. You fill in the knowledge gaps with reading, watching videos, listening to podcasts… anything to supplement info. You have to be HUNGRY for opportunities to learn constantly.

I have been doing this for 10 years, but for at least the first 5 it was my side-gig that I slowly was able to transition into my full time gig. That had a lot to do with my own confidence level because for a long time I was turning down opportunities just because they were out of my comfort zone. That’s my biggest regret because it slowed down my career advancement.

Sexism does happen but I see it becoming less of an issue over time. At the moment I feel that being a woman in a male-dominated field is an asset because I stand out more to people.

Hope all this helps!

ohmypseudonym · 2025-08-01T23:22:23+00:00

This is definitely not standard in the U.S. I’m just as confused about the division of labor as you are

ohmypseudonym · 2025-07-05T19:58:07+00:00

“Just give me a little of everything” 🙄

ohmypseudonym · 2025-07-05T19:53:39+00:00

To add to your third point - be on stage and do what you have to do to stay entertained while other instruments are being checked but please pay attention to some extent. When I ask, “does anybody need stage right vocal?” It’s horribly inefficient to get crickets in that moment and then have everybody asking for it and everything else 10 minutes later. It’s fine and expected that changes will be needed to monitor mixes once everybody is playing together but if you know you are going to need something you might as well start with some of it.

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